Many of the people interviewed were themselves in danger of assassination or "disappearance" during those desperate years when the government of El Salvador turned on its citizens, backed by the full faith and credit of the U.S. government. That comes through in the memories, tinged not just with sadness, but with fear.
At the same time, the book sparkles with liveliness. Romero seems the unlikeliest of martyrs. Firmly on the side of the government at the outset of his appointment as archbishop, he was quickly swayed by the murder of his good friend, Rutilio Grande, a Jesuit priest who had acted as master of ceremonies during the solemn Mass at which Romero was elevated to archbishop. Shortly thereafter, the outspoken "Tilo," as he was called, was assassinated while driving a car loaded with parishioners. His passengers suffered the same fate.
Reading the recollections of those who surrounded Romero at the time, the archbishop's grief is palpable. And that incident set him on the road to questioning why Salvadorans were being murdered under the cover of darkness, their bodies turning up at roadsides each morning.
The book draws to its inevitable conclusion. It is clear from the recollections that Romero expected and accepted his coming martyrdom. It is also clear, however, that he was not courting martyrdom, that he was not bent on self-destruction. Rather, he was a man with a taste for good food, the occasional racy joke, and a deep, abiding love of his country.
Before he died, Romero predicted that he would rise again in the hearts of the people of El Salvador. Reading this book, it is obvious that this prophecy has been fulfilled.
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Throughout the book, he ties together various others' analyses of the challenges that Job presents, referring to such diverse thinkers as Catholic liberation theologians and evangelical Protestants. A typical example of the depth of his meditations is his final one: He compares Job's "unwearying search for divine justice ... and the way human beings can understand it" with "The Song of Songs's unwearying search for love ... and the joy [the presence of the beloved] brings." I'd never heard the two compared before, but I delighted in the parallels he revealed.
In each chapter, Martini demonstrates miraculous wisdom and balance in considering difficult challenges in one's Christian life. His discussion of coping with a restless mind not only led me to better appreciate and balance Martini's continual emphasis on dialogue and an exchange of views with others, as evidenced by his Belief or Non-Belief? (written with Umberto Eco) or his thoughts about the role of doubt, but most important, it proved to be great pastoral advice for such people as me with a wandering mind.
Throughout the book, Martini's comparisons with other biblical passages, from both Old and New Testaments, prove extraordinarily creative and dynamic. He considers Job from diverse perspectives, all with the aim to guide one's meditations on the Bible and to richen one's spiritual life.
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I like Griffin's anthology as well, but this one gives you far greater depth. I doubt anything will ever take its place, at least in English.
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Rodriguez makes her knowledge about Latin American history and politics obvious. This book equally mentions Latin@s in the US and Latin Americans outside of it. By mentioning a Brazilian asylee, her Spanish internet lover, the independence debates on Puerto Rico, and Chicano clubs in the Bay Area, Rodriguez proves her commitment to pan-Latinidad. In many books that address racial and sexual minorities, only one gender is featured. Manrique's "Besame Mucho" or Moraga's "This Bridge Called My Back" are examples of that. Rodriguez, however, brings up people of all genders (and there are more than two) here. Further, this book mentions gay men, lesbians, bisexuals, and the transgendered equally. Thus, I understand her use of the controversial term "queer." The author is just pretty darn inclusive.
Given the three phenomena she analyzes, the reader can easily tell that Rodriguez is trying to expand the perameters of what is considered cultural studies. She cites critical race legal theory which is surprising because critical legal theorists usually already borrow so many ideas from traditionally-trained academics, like herself, outside of the law. The book is short in page length, yet it still takes quite a while to read. The bibilography is a great guide for works by "queer" academics of color.
Rodriguez is an extroverted, sex-positive lesbian academic similar to Gayle Rubin, Joan Nestle, and (as of late) Lillian Faderman. I think her students will be shocked at how open she is about her sex life in this text. On the back cover of the book, Jose' Quiroga praises her writing. Rodriguez writes in an exhaustive fashion about cultural products just like Quiroga, so I wasn't surprised to see his name here. I don't mean to imply that LatinAs can only imitate their white female or LatinO counterparts; it's just that her influences in this book stand out.
The front cover of the book shows a split papaya (or guava?). She informs us that this is a poster for San Francisco's Proyecto, but its symbolic representation of the female body is quite lesboerotic and reminds me of Georgia O'Keefe's flowers. The front and back covers are red, gold, and purple: a somewhat loud clash of colors. It somewhat reminds me of the Venezuelan flag, but Rodriguez states that she is Cuban-American. I think the vibrant color scheme is meant to represent the ideas of Latin@s as being lively and living in warm climates.
I really liked this book, but I do have to make two warnings. First, the reader should know in advance what this text is. THIS IS A VERY ACADEMIC CULTURAL STUDIES TEXT FROM A PhD. Though Rodriguez proves that she is very knowledgeable about "queer" Latin@ organizing, this book does not answer "How to start a Latin@ LGBT club," "Who's Who Among Gay Latin@s," or "What is the history of Queer Latin@ Activism." Potential readers who assume this book is a repeat of "Compan~eras" or "Chicana Lesbians" will be disappointed.
Additionally, many of Rodriguez's analyses could be interpreted differently. For example, she states that gay Latino academics (like Mun~oz and Quiroga) transgressively "queer" scholarship by discussing more than one medium within the same text. Well, given that homosexuality was the love that dare not speak its name and that the subaltern had no voice (as writers have mentioned in the past), it's not surprising that academics have to glean from what they can find in order to discuss "queer" Latin@ cultural works. What she thinks of as subversive, I think of as a reflection on oppression. Still, this was a great work.
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